About: Center for disease control boys (deleted 20 Feb 2008 at 04:07)   Sponge Permalink

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The Center for Disease Control Boys was a musical collaboration between Dean Wartti and George Hackett and holds the distinction of being Chris Cornell's first band. In 1986, Dean was the manager of a small club in Seattle (The Ditto) and George had been recently scorned by the love of his life and was desperate to win her back. Together they forged a musical left-leaning Hee-Haw to voice their frustration with Seattle's punk scene and lampoon the policies of the Reagan era. The concept was a group of lab workers who get together after work at the C.D.C. to play country music. But its ludicrous premise did little to dissuade local talent. Indeed, well-heeled musicians flocked to the project in droves: Bob Maguire, a struggling guitarist who played with such notables as The Subterraneans, B

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  • Center for disease control boys (deleted 20 Feb 2008 at 04:07)
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  • The Center for Disease Control Boys was a musical collaboration between Dean Wartti and George Hackett and holds the distinction of being Chris Cornell's first band. In 1986, Dean was the manager of a small club in Seattle (The Ditto) and George had been recently scorned by the love of his life and was desperate to win her back. Together they forged a musical left-leaning Hee-Haw to voice their frustration with Seattle's punk scene and lampoon the policies of the Reagan era. The concept was a group of lab workers who get together after work at the C.D.C. to play country music. But its ludicrous premise did little to dissuade local talent. Indeed, well-heeled musicians flocked to the project in droves: Bob Maguire, a struggling guitarist who played with such notables as The Subterraneans, B
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  • The Center for Disease Control Boys was a musical collaboration between Dean Wartti and George Hackett and holds the distinction of being Chris Cornell's first band. In 1986, Dean was the manager of a small club in Seattle (The Ditto) and George had been recently scorned by the love of his life and was desperate to win her back. Together they forged a musical left-leaning Hee-Haw to voice their frustration with Seattle's punk scene and lampoon the policies of the Reagan era. The concept was a group of lab workers who get together after work at the C.D.C. to play country music. But its ludicrous premise did little to dissuade local talent. Indeed, well-heeled musicians flocked to the project in droves: Bob Maguire, a struggling guitarist who played with such notables as The Subterraneans, Bobby Jo, a stand-up bass player, Orville Johnson, a professional fiddle player, Ben, well known as front man for Skin Yard, Jake, whose whiney vocals lent an air of authenticity to the band, "The Hef," who was rapidly gaining a reputation as the worst standup comedian in Seattle, Tim Bowman, who played the saw, and of course, Chris Cornell. As the project expanded, so did the scope envisioned by Dean and George. "C.D.C. Gals" were auditioned, gals in country get-ups with fringed jackets and six shooters. Play money was printed in varying denominations with pictures of Dean and George on the obverse and the motto: "In Hay We Trust" blazoned across back. The money was tossed into the air during the band's rendition of Federal Aid. Old wooden barrels, straw hats, and plastic trout were procured, as well as the band's signature bales of hay.
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